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Kötülüğün sineması, yıkıcı bir sinema: Yeni aşırıcılık

Year 2023, Issue: 10, 85 - 109, 11.09.2023

Azime Cantaş , İhsan Koluaçık

https://doi.org/10.46372/arts.1324781

Abstract

Çağdaş toplumların eleştirel teorileri, büyük bir dönüşümün olduğu konusunda hemfikirdir. Ancak bu çağdaş geçiş, eleştirel olmayan kuramların çoğunda özgürleştirici bakış açılarıyla ele alınırken, eleştirel kuramlarda, sanat ve bilim alanlarını etkileyen toplumsal kriz olarak değerlendirilmiştir. Günümüzde modern sinemada, gerçekliğin sinemayla kendini onarmaya çalıştığı ve gerçekliğin yanlış bir izlenimini yarattığı, karakterlerin, konuların ortadan kaldırıldığı, yalnızca şiddetin aşırı temsillerinin sapkın yanılsamaları, şok edici ve kışkırtıcı bir şekilde bırakıldığı kurgusal bir evren sunulmaktadır. Bu makale, bu analizi bir başlangıç noktası alarak, dönüşümü, şiddet ve cinselliğin aşırı net temsillerini içeren büyüyen bir film grubunu tanımlamak için kullanılan bir terim olan yeni aşırıcılığın filmsel temsillerindeki sonuçlarına odaklanmaktadır. Şiddet, beden ve cinsellik temaları üzerinden mevcut yönetmenlerin, modern bireye ve modern egemenlik biçimlerine yönelik tabularına saldırdığı tespit edilmiştir.

Keywords

yeni aşırıcılık fransız yeni aşırıcılığı beden sinema sinema çerçeveleme

References

  • Akmeşe, Z. (2019). Adaptation of the novel the Stranger: A Comparative framing analysis of the films Lo Straniero and Yazgı. Connectist, 57, 1-23. https://doi.org/10.26650/CONNECTIST2019-0064
  • Assayas, O. (Yönetmen). (2002). Demonlover [Film]. Xavier Giannoli.
  • Beugnet, M. (2007). Cinema and sensation: French film and the art of transgression (1. baskı). Edinburgh University.
  • Beugnet, M. (2011). The wounded screen. T. Horeck ve T. Kendall (Ed.), The new extremism in cinema from France to Europe (1. baskı) (s. 29-42). Edinburgh University.
  • Bordun, T. (2017). Genre trouble and extreme cinema film theory at the fringes of contemporary (1. baskı). Palgrave Macmillan.
  • Brown, W. (2013). Violence in extreme cinema and the ethics of spectatorship. Projections, 7(1), 25-42. https://doi.org/10.3167/proj.2013.070104
  • Buñuel, L. (Yönetmen). (1929). Un chien Andalou [Film]. Luis Buñuel.
  • Butler, A. (2012). Sacrificing the real early 20th century theatrics and the new extremism in cinema. Cinephile, 8(2), 27-31. https://doi.org/10.14288/cinephile.v8i2.198006
  • Cantaş A. ve Koluaçık, İ. (2022). Yeni dalgadan yeni aşırıcılığa Claire Denis sineması ve “Trouble Every Day” filmi. Uluslararası film araştırmaları sempozyumu bildiri özetleri kitapçığı (1. baskı) (s. 72). http://turkishfilmstudies.com/bildiri-ozet-kitabi/
  • Cohen, M. (Yönetmen). (2010). It begins with the end [Film]. François Kraus.
  • Çolak, M. (2011). The new extremism: Representation of violence in the new French extremism. VI. international conference: Communication and reality (1. baskı) (s. 491-501). https://dialnet.unirioja.es/servlet/articulo?codigo=8591089
  • de Van, M. (Yönetmen). (2002). Dans ma peau [Film]. Laurence Farenc.
  • Gök Demir, Z. (2010). Çerçevelemenin karar verme sürecine etkisi. Akdeniz iletişim dergisi, 13, 161-180. https://dergipark.org.tr/tr/pub/akil/issue/48082/607945
  • Denis, C. (Yönetmen). (2002). Trouble every day [Film]. Georges Benayoun.
  • Dumont, B. (Yönetmen). (2003). Twentynine palms [Film]. Rachid Bouchareb.
  • Edison, T. A. (Yönetmen). (1896). The kiss [Film]. Thomas Alva Edison.
  • Edison, T. A. (Yönetmen). (1903). Electrocuting an alephant [Film]. Thomas Alva Edison.
  • Entman, R. M. (1991). Framing U.S. coverage of international news: Contrasts in narratives of the KAL and Iran Air incidents. Journal of communication, 41(4), 6-27. https://doi.org/10.1111/j.1460-2466.1991.tb02328.x
  • Entman, R. M. (1993). Framing: Towards clarification of a fractured paradigm. Journal of communication, 43(4), 51-58. https://doi.org/10.1111/j.1460-2466.1993.tb01304.x
  • Frey, M. (2014). The ethics of extreme cinema. J. Choi ve M. Frey (Ed.), Cine-ethics ethical dimensions of film theory, practice, and spectatorship (1. baskı) (s. 145-163). Routledge.
  • Frey, M. (2016). Extreme cinema the transgressive rhetoric of today’s art film culture (1. baskı). Rutgers University.
  • Gens, X. (Yönetmen). (2007). Frontière(s) [Film]. Laurent Tolleron.
  • Gitlin, T. (1980). The whole world is watching (1. baskı). University of California.
  • Goffman, E. (1974). Frame analysis: An essay on the organization of experience (1. baskı). Harvard University.
  • Günevi Uslu, E. (2022). Türk sinemasında New extremism, yeni aşırıcılık: Serdar Akar filmlerinin analizi. Türkiye film araştırmaları dergisi, 2(2), 87-96. https://dergipark.org.tr/en/pub/film/issue/74363/1162249
  • Horeck, T. ve Kendall, T. (2011). Introduction. T. Horeck ve T. Kendall (Ed.), The new extremism in cinema from France to Europe (1. baskı) (s. 1-17). Edinburgh University.
  • Horeck, T. ve Kendall, T. (2012). The new extremism: Rethinking extreme cinema. Cinephile, 8(2), 7-9. https://doi.org/10.14288/cinephile.v8i2.198003
  • Joyard, O. (2002). Le sexe, prochaine frontiere du cinema. Cahiers du cinéma, 574, 10-12. https://dialnet.unirioja.es/servlet/articulo?codigo=682595
  • Kalender, A. B. (2021). Yeni aşırılığın auteur yönetmeni: Bir l’enfant terrible olarak Gaspar Noé. Sinefilozofi dergisi, 6(11), 908-927. https://doi.org/10.31122/sinefilozofi.806391
  • Kerner, A. M. ve Knapp, J. L. (2016). Extreme cinema affective strategies in transnational media (1. baskı). Edinburgh University.
  • Kristeva, J. (2014). Korkunun güçleri iğrençlik üzerine deneme (2. Baskı) (Çev. N. Tutal). Ayrıntı.
  • Kubrick, S. (Yönetmen). (1971). A clockwork orange [Film]. Stanley Kubrick.
  • Kuhn, A. ve Westwell, G. (2012). A dictionary of film studies. Oxford University.
  • Laugier, P. (Yönetmen). (1971). Martyrs [Film]. Frédéric Doniguian.
  • Lübecker, N. (2011). Bruno Dumont’s Twentynine Palms: The avant-garde as tragedy. Studies in French cinema, 11(3), 235-247. https://doi.org/10.1386/sfc.11.3.235_1
  • Noé, G. (Yönetmen). (2002). Irréversible [Film]. Christophe Rossignon.
  • Oshima, N. (Yönetmen). (1976). In the realm of the senses [Film]. Anatole Dauman.
  • Palmer, T. (2006). Under your skin: Marina de Van and the contemporary French cinéma du corps. Studies in French cinema, 6(3), 171-181. https://doi.org/10.1386/sfci.6.3.171_1
  • Palmer, T. (2011). Brutal intimacy (1. baskı). Wesleyan University.
  • Quandt, J. (2011a). Flesh and blood: Sex and violence in recent French cinema. T. Horeck ve T. Kendall (Ed.), The new extremism in cinema from France to Europe (1. baskı) (s. 18-28). Edinburgh University.
  • Quandt, J. (2011b). More moralism from that ‘wordy fuck’. T. Horeck ve T. Kendall (Ed.), The new extremism in cinema from France to Europe (1. baskı) (s. 209-214). Edinburgh University.
  • Resmini, M. (2015). Reframing the new French extremity: Cinema, theory, mediation. Camera obscura, 30(3), 161-187. https://doi.org/10.1215/02705346-3160685
  • Río, E. D. (2016). The grace of destruction a vital ethology of extreme cinemas (1. baskı). Bloomsbury Publishing.
  • Russell, D. (2010). Introduction: Why rape?. D. Russell (Ed.), Rape in art cinema (1. baskı) (s. 1-12). Continuum.
  • Trier, L. V. (Yönetmen). (2009). Antichrist [Film]. Meta Louise Foldager.
  • Vincendeau, G. (2007). The new French extremism. P. Cook (Ed.), The cinema book (1. baskı) (s. 205-207). BFI.
  • Williams, J. (2009). His life to film: The extreme art of Jacques Nolot. Studies in French cinema, 9(2), 177-190. https://doi.org/10.1386/sfc.9.2.177_1
  • Winterbottom, M. (Yönetmen). (2004). 9 Songs [Film]. Andrew Eaton.

Cinema of evil, cinema of destruction: The new extremism

Year 2023, Issue: 10, 85 - 109, 11.09.2023

Azime Cantaş , İhsan Koluaçık

https://doi.org/10.46372/arts.1324781

Abstract

Today, in modern cinema, a fictional universe is presented where reality tries to repair itself with cinema and creates a false impression of reality, where characters and subjects are eliminated, and only perverted illusions of extreme representations of violence are left in a shocking and provocative way. Taking this analysis as a starting point, this article focuses on the consequences of filmic representations of the new extremism, a term used to describe a growing group of films that include transformation, and over-clear representations of violence and sexuality. It has been determined that the current directors attack the taboos of the modern individual and modern forms of domination through the themes of violence, body and sexuality.

Keywords

new extremism french neo extremism body cinema cinema framing

References

  • Akmeşe, Z. (2019). Adaptation of the novel the Stranger: A Comparative framing analysis of the films Lo Straniero and Yazgı. Connectist, 57, 1-23. https://doi.org/10.26650/CONNECTIST2019-0064
  • Assayas, O. (Yönetmen). (2002). Demonlover [Film]. Xavier Giannoli.
  • Beugnet, M. (2007). Cinema and sensation: French film and the art of transgression (1. baskı). Edinburgh University.
  • Beugnet, M. (2011). The wounded screen. T. Horeck ve T. Kendall (Ed.), The new extremism in cinema from France to Europe (1. baskı) (s. 29-42). Edinburgh University.
  • Bordun, T. (2017). Genre trouble and extreme cinema film theory at the fringes of contemporary (1. baskı). Palgrave Macmillan.
  • Brown, W. (2013). Violence in extreme cinema and the ethics of spectatorship. Projections, 7(1), 25-42. https://doi.org/10.3167/proj.2013.070104
  • Buñuel, L. (Yönetmen). (1929). Un chien Andalou [Film]. Luis Buñuel.
  • Butler, A. (2012). Sacrificing the real early 20th century theatrics and the new extremism in cinema. Cinephile, 8(2), 27-31. https://doi.org/10.14288/cinephile.v8i2.198006
  • Cantaş A. ve Koluaçık, İ. (2022). Yeni dalgadan yeni aşırıcılığa Claire Denis sineması ve “Trouble Every Day” filmi. Uluslararası film araştırmaları sempozyumu bildiri özetleri kitapçığı (1. baskı) (s. 72). http://turkishfilmstudies.com/bildiri-ozet-kitabi/
  • Cohen, M. (Yönetmen). (2010). It begins with the end [Film]. François Kraus.
  • Çolak, M. (2011). The new extremism: Representation of violence in the new French extremism. VI. international conference: Communication and reality (1. baskı) (s. 491-501). https://dialnet.unirioja.es/servlet/articulo?codigo=8591089
  • de Van, M. (Yönetmen). (2002). Dans ma peau [Film]. Laurence Farenc.
  • Gök Demir, Z. (2010). Çerçevelemenin karar verme sürecine etkisi. Akdeniz iletişim dergisi, 13, 161-180. https://dergipark.org.tr/tr/pub/akil/issue/48082/607945
  • Denis, C. (Yönetmen). (2002). Trouble every day [Film]. Georges Benayoun.
  • Dumont, B. (Yönetmen). (2003). Twentynine palms [Film]. Rachid Bouchareb.
  • Edison, T. A. (Yönetmen). (1896). The kiss [Film]. Thomas Alva Edison.
  • Edison, T. A. (Yönetmen). (1903). Electrocuting an alephant [Film]. Thomas Alva Edison.
  • Entman, R. M. (1991). Framing U.S. coverage of international news: Contrasts in narratives of the KAL and Iran Air incidents. Journal of communication, 41(4), 6-27. https://doi.org/10.1111/j.1460-2466.1991.tb02328.x
  • Entman, R. M. (1993). Framing: Towards clarification of a fractured paradigm. Journal of communication, 43(4), 51-58. https://doi.org/10.1111/j.1460-2466.1993.tb01304.x
  • Frey, M. (2014). The ethics of extreme cinema. J. Choi ve M. Frey (Ed.), Cine-ethics ethical dimensions of film theory, practice, and spectatorship (1. baskı) (s. 145-163). Routledge.
  • Frey, M. (2016). Extreme cinema the transgressive rhetoric of today’s art film culture (1. baskı). Rutgers University.
  • Gens, X. (Yönetmen). (2007). Frontière(s) [Film]. Laurent Tolleron.
  • Gitlin, T. (1980). The whole world is watching (1. baskı). University of California.
  • Goffman, E. (1974). Frame analysis: An essay on the organization of experience (1. baskı). Harvard University.
  • Günevi Uslu, E. (2022). Türk sinemasında New extremism, yeni aşırıcılık: Serdar Akar filmlerinin analizi. Türkiye film araştırmaları dergisi, 2(2), 87-96. https://dergipark.org.tr/en/pub/film/issue/74363/1162249
  • Horeck, T. ve Kendall, T. (2011). Introduction. T. Horeck ve T. Kendall (Ed.), The new extremism in cinema from France to Europe (1. baskı) (s. 1-17). Edinburgh University.
  • Horeck, T. ve Kendall, T. (2012). The new extremism: Rethinking extreme cinema. Cinephile, 8(2), 7-9. https://doi.org/10.14288/cinephile.v8i2.198003
  • Joyard, O. (2002). Le sexe, prochaine frontiere du cinema. Cahiers du cinéma, 574, 10-12. https://dialnet.unirioja.es/servlet/articulo?codigo=682595
  • Kalender, A. B. (2021). Yeni aşırılığın auteur yönetmeni: Bir l’enfant terrible olarak Gaspar Noé. Sinefilozofi dergisi, 6(11), 908-927. https://doi.org/10.31122/sinefilozofi.806391
  • Kerner, A. M. ve Knapp, J. L. (2016). Extreme cinema affective strategies in transnational media (1. baskı). Edinburgh University.
  • Kristeva, J. (2014). Korkunun güçleri iğrençlik üzerine deneme (2. Baskı) (Çev. N. Tutal). Ayrıntı.
  • Kubrick, S. (Yönetmen). (1971). A clockwork orange [Film]. Stanley Kubrick.
  • Kuhn, A. ve Westwell, G. (2012). A dictionary of film studies. Oxford University.
  • Laugier, P. (Yönetmen). (1971). Martyrs [Film]. Frédéric Doniguian.
  • Lübecker, N. (2011). Bruno Dumont’s Twentynine Palms: The avant-garde as tragedy. Studies in French cinema, 11(3), 235-247. https://doi.org/10.1386/sfc.11.3.235_1
  • Noé, G. (Yönetmen). (2002). Irréversible [Film]. Christophe Rossignon.
  • Oshima, N. (Yönetmen). (1976). In the realm of the senses [Film]. Anatole Dauman.
  • Palmer, T. (2006). Under your skin: Marina de Van and the contemporary French cinéma du corps. Studies in French cinema, 6(3), 171-181. https://doi.org/10.1386/sfci.6.3.171_1
  • Palmer, T. (2011). Brutal intimacy (1. baskı). Wesleyan University.
  • Quandt, J. (2011a). Flesh and blood: Sex and violence in recent French cinema. T. Horeck ve T. Kendall (Ed.), The new extremism in cinema from France to Europe (1. baskı) (s. 18-28). Edinburgh University.
  • Quandt, J. (2011b). More moralism from that ‘wordy fuck’. T. Horeck ve T. Kendall (Ed.), The new extremism in cinema from France to Europe (1. baskı) (s. 209-214). Edinburgh University.
  • Resmini, M. (2015). Reframing the new French extremity: Cinema, theory, mediation. Camera obscura, 30(3), 161-187. https://doi.org/10.1215/02705346-3160685
  • Río, E. D. (2016). The grace of destruction a vital ethology of extreme cinemas (1. baskı). Bloomsbury Publishing.
  • Russell, D. (2010). Introduction: Why rape?. D. Russell (Ed.), Rape in art cinema (1. baskı) (s. 1-12). Continuum.
  • Trier, L. V. (Yönetmen). (2009). Antichrist [Film]. Meta Louise Foldager.
  • Vincendeau, G. (2007). The new French extremism. P. Cook (Ed.), The cinema book (1. baskı) (s. 205-207). BFI.
  • Williams, J. (2009). His life to film: The extreme art of Jacques Nolot. Studies in French cinema, 9(2), 177-190. https://doi.org/10.1386/sfc.9.2.177_1
  • Winterbottom, M. (Yönetmen). (2004). 9 Songs [Film]. Andrew Eaton.
There are 48 citations in total.

Details

Primary Language Turkish
Subjects Art History, Theory and Criticism (Other)
Journal Section Research Articles
Authors

Azime Cantaş 0000-0002-9356-3050

İhsan Koluaçık 0000-0001-5525-2182

Early Pub Date September 11, 2023
Publication Date September 11, 2023
Published in Issue Year 2023Issue: 10

Cite

APA Cantaş, A., & Koluaçık, İ. (2023). Kötülüğün sineması, yıkıcı bir sinema: Yeni aşırıcılık. ARTS: Artuklu Sanat Ve Beşeri Bilimler Dergisi(10), 85-109. https://doi.org/10.46372/arts.1324781
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